Regarding the conversion prior to Chitty Chitty Bang Bang, the previous presentation at the Astoria was Half a Sixpence which ran from its premiere there in 1967 to 3 October 1968. Between then and December 17 the theatre was closed for refurbishment.

Probably the Astoria’s longest run of all was “Paint Your Wagon” (blown up to 70mm.) in the early ‘seventies. Paramount “four-walled” the cinema in order to showcase their musical-western and it ran for over a year. For this, and the revival of a single-lens version “How The West Was Won”, a six-sided screen was used which, for me at least, was unsatisfactory. The reason for the unconventional image was the stalls level projection room. By this time, the proscenium had disappeared behind a large and deeply curved screen frame complete with semi-circular curtain track and further curtaining concealing the side walls. The screen was huge but, following its installation, in order for the wide beam to be accommodated, the already cut-away front of the balcony would have had to be even more cut away and, as this meant losing more top price seats, Rank refused to allow it. The resulting compromise resulted in a “carpet to ceiling” 70mm. image with the top corners chamfered and masked as such. I would have preferred a slightly smaller, rectangular image. 'Scope and wide screen product were able to be screened normally with a four-sided image.

As “Paint Your Wagon” was my first visit to the Astoria, I do not know when the “six-sided” image first appeared but my best guess would be that it followed Rank’s “zing” treatment which produced the plainer auditorium in time for “Chitty Chitty Bang Bang” to open there following its gala premiere at the Odeon, Leicester Square in December 1968.

The Astoria most certainly did not show “Around the World in 80 Days” in 70mm! 70 mil did not appear in the UK until “South Pacific” opened at the Dominion in 1958. 80 Days was shown at the Astoria in 34 (yes FOUR)mm. This was a process called Cinestage involving an anamorphic print with a 1.56:1 squeeze giving a screen ratio of 2.2:1 (like Todd AO). The reason for the 34mm print was British quota. All cinemas had to show 30% British films in any one year, which would have precluded a long roadshow run. However, the rules only applied to 35mm film so 1mm was shaved off the print! Apparently at least twice during the run Board of Trade inspectors visited to make sure they really were using a 34mm print. Later, of course, 70mm presentations were also exempt from quota which is how cinemas like the Astoria, Dominion, Metropole and others could present long runs of “foreign” films. Unfortunately, some British films (notably “Zulu” were denied a 70mm run in the West end so that the film could contribute to quota obligations.

I too have always been intrigued (call it puzzled) by the ‘Astoria Theatre-123’ sign on the building. The original main auditorium was always one space, and the ballroom in the basement was always another single space.

A number of photos of the Astoria taken over the last two decades posted here on CT and elsewhere –(such as this one: View link – show a small vertical sign attached to the extreme right hand side of the Tottenham Court Road frontage. The sign reads “Astoria Theatre” vertically and “123” horizontally at the bottom. The sign would appear to be over the entrance to the lower level where the former ballroom/Bang/Astoria 2/G-A-Y nightclub was. However, most recent and older London guides I have give 165 as the address for the Astoria 2. Is that “123” an address number or was there once a triplex theater on the lower level?

Ken,Mar 20,and everyone:– I have the original newspaper ads from 1969 with the Cinerama and Astoria logo. In fact regarding the Astoria logo for every film shown there since the early 1960’s. Roland Lataille has some of my selection to put up on the CineramaTopcities website, but would anyone be interested to a link of my own to share them directly. i would need advice as to whether Flickr or Photobucket(or whatever) would be the best medium, and also how to manage the technicalities. Im a bit of a IT saddo unfortunately.

Will we bemoan the demolition of another piece of history? Depends if the definition of ‘history’ extends beyond fibrous plaster and mock classical facades. When this was built it was modern, and like all modern buildings was not designed to last much longer than a generation (i.e. thirty odd years). How many music halls and live theatres went out of business when this gaudy monstrosity was built I wonder? How many people bemoaned the loss of history then? Except its not history is it – its nostalgia, which is selective, subjective and fails to recognise the most important thing about history which is ‘context’.

If we’re being nostalgic then I bemoan the loss of the modernist sixties conversion, the one with the Cinerama screen…how could they, it doesn’t make sense, they should be ashamed of themselves, outrageous they got rid of it, etc etc etc…

A long time coming, but finally the end seems inevitable. I wonder if, in 20 years, we’ll bemoan the demolition of another piece of history? Such a shame the facade cannot be retained, although the 1970’s signage will “not” be missed.